FLEMISH 
PRIMITIVES 


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FLEMISH 
PRIMITIVES 


FORMERLY IN THE COLLECTION OF THE PRINCE OF 
HOHENZOLLERN-SIGMARINGEN 
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Introduction and Description by 
DR. MAX J. FRIEDLANDER 


EXHIBITED BY A. S. DREY, NEW YORK 
680 FIFTH AVENUE 
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INTRODUCTION 


The Hohenzollern-Sigmaringen Art-Collection has not 
only been a public gallery through the liberal spirit of its 
princely owners, but the public had through tradition taken 
possession of it. Now this collection has left its original home. 
It gives certainly some satisfaction to the German art-lover 
after the unfortunate loss of Oldenbourg, Dessau and Weimar, 
that a great part of the collection—and especially that part 
which is the most interesting for Germany—has been acquired 
by a public German institution. 

At present this part of the collection is exhibited in the 
Stadel Art-Institute, Frankfort/Main, and consists of the whole 
collection except the Flemish primitifs, which we are describ- 
ing in part in the following pages. 

One of the principal sources from which the pictures of | 
the princely Collection came has been the famous collection 
of the architect of the town of Cologne Johann Peter Weyer, 
which like the collections Boisserée and Wallraf has been 
rich in Flemish and Rhenish paintings of the 15** and 16* cen- 
tury. This collection has been sold at public sale August the 
25th 1862. In referring to the Sigmaringen Catalogue we mean 
its 2™4 edition of 1883. Those pictures which are missing in 
this catalogue have been acquired after 1883. 

Without any doubt these pictures will find their way to 
the best collections, because an opportunity to acquire pictures 
of this importance is rare and will become still rarer from day 
to day. 

BERLIN, October 1928. 


FOLLOWER OF ROGIER VAN DER 
WEYDEN 
ANNUNCIATION 


panel, 18x14 inches 


Collection J. P. Weyer, Cologne 1862 No. 263 ” 
Sigmaringen Catalogue No. 25 
Exhibited Munich, Alte Pinakothek, September/October 1928 


Excellent work of a Flemish artist under the influence of 
Rogier van der Weyden. There is no other version of this 


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MASTER OF THE LEGEND OF ST. BARBARA 


VOTIVE TABLET WITH CHRIST ON THE CROSS, 

THE VIRGIN AND ST. JOHN IN THE CENTER; ON 

THE LEFT CHRIST WITH THE COLUMN, ON THE 
RIGHT THE ECCE HOMO 


panel, 211/,21 inches 


Collection Abel, Cologne 1863 No.70 
Sigmaringen Catalogue No.120 


Inscriptions in Flemish language on scrolls, on the lower border 
and on the frame work. In the center the coat-of-arms of the 
family Colyns. The inscription says, that this epithaphium has 
been painted in memory of two women of the Colyns family; 
one of them, the nun to the right, died in 1491. 

This master worked probably in Bruxelles; cf. Friedlander, 
Altniederlandische Malerei, vol. [V page 109 etc. 


DIERIK BOUTS (?) 


VIRGIN AND CHILD; BACKGROUND 
LANDSCAPE 


panel, 118 inches 


Bought in the art-trade in Cologne 

Sigmaringen Catalogue No. 38 

Pantheon, vol. I page 64 

Exhibited Munich, Alte Pinakothek, September/October 1928 


Similar picture, same quality, is in the Kaiser Friedrich Museum, 
Berlin, cf. Friedlander, Altniederlandische Malerei, vol. II, 
plate LXXVII. Already Scheibler, speaking of this picture, 
which had once been attributed to Rogier van der Weyden, 
says “More in the style of Bouts”. 


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BRUGES ARTIST 1473 


TRIPTYCHON: VIRGIN AND CHILD WITH THE 

DONORS JAN DE WITTE AND HIS WIFE MARIA 

HOOSE. ON THE OUTSIDE OF THE LEFT WING 
CHRIST WITH THE VIRGIN AND ST. JOHN 


panel, 33x54 inches 


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Sigmaringen Catalogue No. 140 

Weale, Catalogue of the Bruges Exhibition 1902 

Pantheon, vol. I page 69 

Exhibited Bruges 1902 No. 49 

Exhibited Munich, Alte Pinakothek, September/October 1928 


On the original frame, below the donor, the inscription: 
etatis XXX anom; in the center: Hoc opus pfecta a°M IIII* 
LXXIII. XXVII die julij; underneath the donatrix; etatis XVI 
anom. The coat of arms have made possible the identifica- 
tion of the donor, who in 1473 was Mayor of Bruges; the 
name of his (second) wife was Maria Hoose. Concerning the 
excellent artist, who seems to have been influenced by Rogier 
van der Weyden; cf, Friedlander, Altniederlandische Malerei, 


vol. VI page 112, plate L. 


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MASTER OF THE LEGEND OF ST. URSULA 
VIRGIN AND CHILD WITH TWO ANGELS 


panel, 144/.x11 inches 


Bought in the art trade in Rome t | Wott.) 
Friedlander, Altniederlindische Malerei, vol. VI No. 127 
Exhibited Munich, Alte Pinakothek, September/October 1928 


Concerning this artist, who worked at Bruges about 1480; 
cf. Friedlander, Altniederlandische Malerei, vol. VI, where | 
this picture is catalogued.. / 


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JAN DE COCK 
ST. ANNE WITH THE VIRGIN AND CHILD 


round panel, diameter 14 inches 


From the Christian Museum, Cologne 
Sigmaringen Catalogue No. 41 
Exhibited Munich, September/October 1928 


This excellent picture has been attributed to Cornelis Engel- 
brechtsen, but it ought to be ascribed to Jan de Cock, an 
Antwerp artist, who has lately been much esteemed. About 
this artist cf. Friedlander, Zeitschrift fiir Bildende Kunst, Neue 
Folge, XXIX (1918) page 67 etc. 


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Poaolkk OF THE LEGEND OF 
ST. MAGDALENE 


TRIPTYCHON; IN THE CENTER VIRGIN AND 
CHILD; ON THE LEFT ST. ARNOLD OF LIZIWANG 
WITH THE DONOR; ON THE RIGHT 
ST. CATHERINE; THE OUTSIDE OF THE WINGS 
REPRESENTS ST. JEROME AND ST. AGNES 


panel, 161/225 inches 


Collection Abel, Cologne 1863 No. 13 
Sigmaringen Catalogue No. 31 
Exhibited Munich, Alte Pinakothek, September/October 1928 


The center shows the style of the Master of the Legend of 
St. Magdalene under the influence of Rogier van der Weyden. 
The wings are more in the style of the Master of the Legend 
of St. Catherine. 


MASTER OF 1518 


THE MARRIAGE OF THE VIRGIN 
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panel, 25X27 inches 


Collection J. P. Weyer, Cologne 1862 No.194 42 Stork y lows vow Sq 


_ Sigmaringen Catalogue No. 17 


Friedlander, Jahrbuch der PreuBischen Kunstsammlungen 1915 
p. 82 


Exhibited Munich, Alte Pinakothek, September/October 1928 


An especially careful work of the Antwerp mannerist, who, 

~ in 1518 executed the altarpiece in the Brief-chapel inthe Church 
of St. Mary in Liibeck, cf. Friedlander, Jahrbuch der Preufi- 
schen Kunstsammlungen 1915, page 81. 


ANTWERP MANNERIST OF 1520 
ADORATION OF THE KINGS 


panel, 47!/2<31*/2 inches 


Collection J. P. Weyer, Cologne 1862 No.197 =?” 
Sigmaringen Catalogue No.5 
Exhibited Munich, Alte Pinakothek, September/October 1928 


This picture belongs to the large group of paintings, which 
formerly has been attributed to Herri met de Bles. 


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FLEMISH ARTIST ABOUT 1520 
ST. ANNE AND JOACHIM AS PARENTS 
OF THE VIRGIN 


panel, 18x14 inches 


Exhibited Munich, Alte Pinakotkek, September/October 1928 


The Master of this excellent painting seems to have been 
influenced by Jan Gossaert and by the Antwerp Mannerists. 


JAN VAN SCOREL 
ST. ANNE WITH VIRGIN AND CHILD 


panel, 211/2x20 inches 


From a Westphalian private Collection 
Published by Dr. Grete Ring, Kunstchronik 1918, p. 182 


ANTONIS MOR 
PORTRAIT OF A YOUNG MAN 


panel, 381/2X27+/> inches 
Exhibited Munich, Alte Pinakothek, September/October 1928 


On the left: A. S. 20. A® 1538 


This picture has been unknown until now to the literature of 
art. It dates from the middle-period of the Master, the same 
year as the famous portrait of himself in the Uffizii in Flo- 
rence. In this year Mor sojourned probably in Bec’. 
Cf. H. Hymans, Antonio Moro p. 99. 


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WILLIEM KEY 
PORTRAIT OF A MAN 


panel, 251/,x16 inches 


Collection Dr. Wutzer, Germany 
Collection Cohen, Bonn 1864 No. 35 
Sigmaringen Catalogue No. 20 


This excellent portrait, which dates from about 1540, has been 
executed without any doubt by the same artist as the portrait 
in the Johnson Gallery, Philadelphia, attributed there to An- 
tonio Moro (No.429). It should be ascribed to Willem Key 
on account of its close relation to a portrait in the Antwerp 
Gallery and to the portraits on the ‘“Mourning of Christ” in 
the Collection Six, Amsterdam, which bears the signature of 
Key. Willem Key and Antonis Mor were the most famous 
portrait-painters of the Netherlands about 1550. 


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MARINUS VAN ROYMERSWAELE 


THE MONEYLENDER AND HIS WIFE WEIGHING 
OUT GOLD 


panel, 36'/,45 inches 


Collection Cohen, Bonn 1864 

Sigmaringen Catalogue No. 58 

Staedel Jahrbuch, vol. III/IV, p. 56 

Exhibited Munich, Alte Pinakothek, September/October 1928 


Two different compositions of this picture by Marinus van 
Roymerswaele exist in several galleries ; one with the money- 
lender and his wife alone with fantastic headdresses and the 
other with the boy handing a letter. Of this second group the 
present picture is by far the best. 


MASTER OF THE ALTARPIECE OF 
AIX-LA-CHAPELLE 


VIRGIN AND CHILD WITH ST. CATHERINE 
AND ST. URSULA 


panel, 171/.24 inches 


Collection Schmitz, Cologne 

Sigmaringen Catalogue No. 59 

Staedel Jahrbuch vol. III/IV p. 60 

Exhibited Munich, Alte Pinakothek, September/October 1928 


Concerning this excellent artist, who worked in Cologne about 
1510; cf. Friedlander, Wallraf Richartz-Jahrbuch vol. 1 (1924), 
p.101 etc. 


JACOPO DA VALENCIA 


VIRGIN AND CHILD WITH ST. GEORGE 
AND ST. PETER 


panel, 38x30 inches 


Collection S. Hirschler, Vienna 
Sigmaringen Catalogue No. 225 


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MADONNA AND CHILL By a BRUGES ARTIST ABOUT 1489 


Included in the exhibition of pictures from the Sitgmaringen collection 
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